He doesn’t know her, she doesn’t know him, but somewhere on the highway between Lisbon and Porto, he stops to rest and there she is: as lost as he is. It is a truly fortunate encounter that perhaps is not so fortunate. Almost without any words spoken, they leave together in his car. And so follow the gas stations, and motels, the conversations and the silence, the revelations and the mysteries. They draw an interior route together without either of them knowing where it will lead. In any event, she hopes he will deliver her to a primordial place, an almost mythical destination: her grandmother’s house. In its solitude, each of them can, quite simply, lose themselves, or perhaps, encounter each other.

Portuguese filmmaker Fernando Lopes began his career as a newsreel editor’s trainee for the recently established Radio Televisão Portuguesa (RTP) in 1957. Prior to that, he had studied bookkeeping in Lisbon. In 1959, Lopes attended the London School of Film Technique on a grant from the Fundo de Cinema Nacional. He returned to RTP in 1961 and for the next two years was actively involved in their news services. After years of relative obscurity, Lopes made his first theatrically released feature, the docudrama Belarmino (1964), and for his efforts earned a Fulbright scholarship that allowed him to spend three months Hollywood in 1965. It was not until 1968 that Lopes would begin shooting his next feature, Uma Abelha na Chuva/A Bee in the Rain. The film was finally edited and released in 1971. In addition to making feature films, Lopes remained active with RTP as a manager of Channel Two and with its Department of International Co-Productions; in 1970, Lopes served for the Centro Portuguêse de Cinema. ~ Sandra Brennan, Rovi

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